Grain par Grain…
2017 - Sculpture (Sculpture)
110 x 210 x 30 cm
Julien Creuzet
Full title of the work: Grain par Grain, sur le parterre humide et fissuré. Érosion sévère, graine, ma cote. Où est la manne, semence de l’antiquité. Grain ou pion, rachitique, échiquier économique. La Chine ne nous bouffera pas la jambe, l’échine. Si tu disparaissais de mon ventre, gonflé de misère. Héros invisible, écu cancéreuse, foutue humanité. Immiscé dans ma vie la plus lointaine, parcelle, parasite tenace. Eau de pluie, nous t’évoquons encore une fois. Mon jour depuis toujours. (Sans toi, je sens que tu t’en vas) This work is reminiscent of an island, a raft thrown into the sea. It gives the feeling of certain fragility but the grains of rice refer to the cycle of nature and life. The different elements each carry significant, the box referring to the body, rice to agriculture and trade, the European flag to international geopolitics, the Kalashnikov to the violence of war and drug trafficking. It is a visual collage of references to a world that we share ¾ -signs from universal popular culture. The large carpet on the floor is reminiscent of the makeshift stands employed in the flea markets in the outskirts of cities and refers to the precariousness of sellers from different horizons. The terms “archipelic” and “creolization” return as mantras in his vocabulary and in articles written on the artist and it is that this vocabulary is a way of doing and being in the world, fragmentary and crossed by a multiplicity of identities.
The work of Julien Creuzet reveals painful stories – both personal and political – making it impossible separate one from the other. Creuzet’s work places at the heart of its facilities the link between identities and economies, be it the transatlantic trajectories of the West Indians or those of the migrants of the South. He composes landscapes made of heterogeneous elements, mixing hurricanes of the Caribbean and the covered markets of the Parisian suburbs. Following Edouard Glissant, he operates a collective and subjective re-appropriation of an Antillean historical narrative, in the absence of cultural categories.
Colors:
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